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®ty  Art  aiuBtttute  of  Ollftrago 

April  22  to  jUag  B,  1313 


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William  Kntif 


®ty  Art  3fttstituti>  of  GUjiraga 

April  22  to  Hag  6,  1913 


WM.  KEITH 


WILLIAM  KEITH,  ARTIST  AND  MAN. 


(AN  EXCERPT  EROM  AN  ARTICLE  BY 
R.  W.  MACBETH.) 

FEW  artists  have  had  a  more  interesting  career  than 
Mr.  Keith.  He  was  born  in  Old  Meldrum,  Aberdeen- 
shire, Scotland,  in  November,  1839,  a  member  of  the  Keith 
family  that  still  owns  a  feudal  castle  in  the  high- 
lands. His  early  boyhood  was  spent  on  this  estate  near 
Cowie,  but  when  he  was  about  12  years  old  the  family 
removed  to  New  York.  Here  he  at  first  had  a  position — 
much  against  his  will,  apparently — in  a  lawyer's  office,  and 
in  his  spare  moments  began  the  study  of  wood  engraving. 
He  soon  decided  to  devote  his  entire  time  to  his  art,  and 
after  working  for  a  year  or  two  as  an  apprentice,  he  secured 
a  position  with  Harper's  Weekly  and  Harper's  Monthly. 
He  served  these  periodicals  until  1859,  when  he  went  to 
California  to  live.  Until  the  art  of  photo-engraving  made 
his  trade  unprofitable,  he  was  employed  continually,  but  he 
soon  found  he  could  not  compete  with  the  cheaper  and  more 
rapid  method  of  making  reproductions,  and  began  to  turn 
his  attention  to  outdoor  work. 

At  first  he  made  pencil  sketches  only,  but  gradually  worked 
into  water  colors,  and  found  such  a  ready  sale  for  his  sketches 
that  in  1869  he  was  enabled  to  go  abroad  to  study  the 
foreign  masters.  For  more  than  a  year  he  studied  in  Duessel- 
dorf,  gaining  valuable  training  in  the  fundamentals,  and  then 
crossed  to  Boston.  But  he  continually  heard  the  call  of  the 
West,  and  so  he  returned  to  California  in  the  seventies.  Since 
then  he  has  repeatedly  crossed  the  ocean,  seeing  almost  all 
of  the  world-famous  collections,  and  meeting  many  of  the 
leading  artists  of  all  schools,  but  it  was  California  that  had 
originally  stirred  him  to  paint,  and  it  was  to  California 
that  he  returned  after  each  trip  for  new  inspiration. 

All  artists  and  collectors  who  visited  the  coast  felt  their 
stay  incomplete  without  a  visit  to  the  Keith  studio,  and  they 
were  all  cordially  welcomed — when  he  was  in  the  mood. 


George  Inness  lived  at  his  studio  during  a  rather  protracted 
visit  to  the  coast,  and  there  are  those  who  profess  to  see  a 
change  in  Mr.  Keith's  work  from  then  on.  It  is  true  that  to 
some  degree,  at  least,  they  both  saw  nature  in  the  same 
way;  but  Mr.  Keith  saw  it  that  way  before  Mr.  Inness 
made  his  appearance  in  the  West,  and  those  who  know  Mr. 
Keith's  work  through  its  many  phases,  realize  that  it  shows 
not  a  change,  but  a  regular  progression,  getting  more  and 
more  nearly  to  his  ideal  of  what  a  picture  should  be  with 
each  succeeding  year. 

In  the  fire  in  1906,  not  only  was  the  Keith  studio  destroyed, 
but  in  it  at  the  time  were  many  of  his  paintings  and 
sketches.  He  also  lost  a  great  number  of  personal  gifts  of 
his  friends,  and  it  was  the  loss  of  these  that  seemed  to  affect 
him  most.  One  of  his  great  brass  bowls  was  rolled  out  into 
the  street  by  some  men  who  tried  to  save  what  they  could 
from  the  flames.  After  the  fire  it  was  one  of  the  first  things 
that  Mr.  Keith  searched  for,  and  it  was  not  until  he  had 
given  up  the  search  that  it  was  discovered,  blackened,  but 
otherwise  unhurt,  in  the  middle  of  a  street  some  distance 
from  its  home,  where  it  had  been  abandoned. 

Mr.  Keith  was  not  discouraged  by  the  fire.  He  at  once 
set  about  painting  new  canvases  with  a  vigor  and  enthusiasm 
undaunted  by  nearly  seventy  years  of  constant  effort,  and 
some  of  the  best  paintings  that  now  represent  him  in  pri- 
vate and  public  collections  owe  their  being  to  the  few  years 
that  have  elapsed  since  1906. 

"My  subjective  pictures,"  said  the  artist  on  one  occasion, 
"are  the  ones  that  come  from  the  inside.  I  feel  some  emo- 
tion and  I  immediately  paint  a  picture  that  expresses  it. 
The  sentiment  is  the  only  thing  of  real  value  in 
my  pictures,  and  only  a  few  people  understand  that. 
Suppose  I  want  to  paint  something  recalling  medita- 
tion or  repose.  If  people  do  not  feel  that  sensation 
when  my  work  is  completed,  they  do  not  appreciate 
nor  realize  the  picture.  The  fact  that  they  like  it 
means  nothing.  Any  one  who  can  use  paint  and  brushes 
can  paint  a  true  scene  of  nature — that  is  an  objective  pic- 
ture.   The  artist  must  not  depend  on  extraneous  things. 


There  is  no  reality  in  his  art  if  he  must  depend  on  out- 
side influences — it  must  come  from  within.  You  don't  like 
that  picture?"  he  asked.  "Well,  I  don't  care;  it's  good, 
anyway — it's  a  'crackerjack.'  You  say  it's  irritating,  and 
that  proves  it  is  good,  because  it  made  an  impression.  If 
it  didn't  arouse  any  feeling  in  you  at  all,  it  would  be  worth- 
less. And,  I  tell  you,  if  you  had  that  picture  around  all  the 
time,  and  saw  it  every  day,  you  would  grow  to  like  it — you 
couldn't  help  it." 

With  such  a  philosophy  it  is  natural  that  Keith's  pictures 
are  those  painted  in  the  studio,  rather  than  in  the  open  ; 
but  they  are  based  on  a  long  and  intimate  knowledge  with 
the  great  California  out-of-doors,  and  his  subjects,  in  almost 
every  case,  find  their  ground-work  in  some  beautiful  spot 
not  far  from  his  Berkeley  home.  His  mood,  judged  from 
his  paintings,  was  variable,  now  quiet  and  dignified,  and 
transmitted  to  us  in  those  warm,  soft  greens,  that  are  among 
the  most  delightful  things  that  he  ever  did;  and  again,  dis- 
turbed and  turbulent,  piling  great  white  and  amber  clouds 
upon  each  other  until  his  very  skies  reflected  those  emotions 
to  which  his  brush  gave  utterance. 


I— CALIFORNIA  OAKS. 


A  SHEPHERD  and  his  flock  have  invaded  the  virginal 
stillness  of  this  splendid  grove  of  oaks.  On  all  sides 
the  mighty  giants  raise  their  stately  heads  against  the  dark- 
ening heavens,  and  underfoot  the  rank,  sweet  grass  is  almost 
lost  in  the  shadows  of  gathering  dusk.  Directly  overhead 
hangs  a  great  white  cloud,  lightening  the  gloom,  while  the 
greenish  sky  is  but  a  few  gradations  removed  from  the 
deeper  blue  of  night.  A  subdued  hush  broods  over  the  scene 
which  is  painted  in  deep,  rich  tones  of  green,  and  the  can- 
vas is  permeated  with  the  haunting  lure  of  twilight. 

Height  20,  length  26  inches.  ^2<=»£>«e» 
Canvas  No.  R. 


2— THE  QUIET  HOUR. 


LJARMONY  is  the  keynote  of  this  exquisite  canvas.  Trees 
*•  *■  and  grasses  have  been  touched  by  the  first  visitation  of 
young  Autumn,  and  leaves  and  blades  in  their  soft  yellow 
garb  blend  in  perfect  accord  with  the  subdued  gray  light 
of  the  early  evening  sky.  To  the  right  on  a  gently  rising 
slope  a  slim,  skeleton-like  tree  casts  its  bare,  brown  limbs  in 
grotesque  tracery  against  the  yellowish  foliage  of  the  trees 
beyond,  while  the  gray  canopy  above  is  ruffled  by  soft, 
fleecy  clouds.  In  the  wake  of  a  little  path  which  runs 
through  the  center  of  the  picture,  loiter  a  group  of  figures. 
The  foreground  is  rich  in  swaying  grasses  and  wild  flowers, 
the  detail  being  worked  out  to  a  minute  degree.  The  "Quiet 
Hour"  has  been  likened  to  a  Corot,  but  while  there  is  a 
suggestion  of  the  great  Frenchman  in  the  soft,  tonal  quality 
employed,  the  strong  individuality  of  the  Californian  has 
stamped  the  creation  as  unmistakably  a  Keith. 

Height  20,  length  26  inches.    j2  S~&0 
Canvas  No.  104. 


3— GOLDEN  HOUR. 


C  LIM,  graceful  trees  border  a  placid  stream  whose  waters 
^  are  peopled  with  myriad  shapes  and  forms  of  shadow- 
land.  At  the  foot  of  a  slender  sapling  in  the  left  fore- 
ground rest  a  man  and  a  woman  lost  to  everything  save  the 
transcendent  beauty  of  the  sun's  departure.  Like  a  blazing 
ball  it  hangs  low  in  the  western  sky,  its  brilliant  orange  light 
spilling  into  the  water  beneath  in  a  cascade  of  molten  fire, 
while  leaves  and  grasses  catch  the  shining  glow  in  points 
of  flame.  Across  the  stream  a  flock  of  sheep  graze  quietly 
in  the  shelter  of  the  trees.  The  artist  has  plucked  a  golden 
jewel  from  Nature's  changing  crown  and  placed  it,  palpi- 
tating, in  a  canvas  setting. 

Height  20,  length  30  inches. 
Canvas  No.  243. 


4— MIDSUMMER  NIGHT'S  DREAM. 


l^EITH  and  sentiment  were  inseparable.  In  the  enchant - 
ing  make-believe  of  paints  and  brushes  he  reveled  in 
every  romantic  phase  of  Nature,  and,  above  all,  he  loved  the 
mystic  time  of  the  twilight  and  the  gloaming.  In  this  scene 
he  has  caught  the  glamorous  charm  of  the  hour  and  set 
it  down  with  irresistible  appeal.  A  little  dell  deep  in  the 
heart  of  an  oak  grove  lies  shimmering  in  the  moon's  pale 
radiance.  Great,  hoary  trees  weave  a  canopy  of  interlaced 
branches  overhead  through  which  a  vaguely  grayish  sky  may 
be  discerned.  A  tiny  pool,  its  presence  revealed  by  the  tell- 
tale moonlight  reflected  from  its  surface,  adds  to  the  be- 
witching loveliness  of  the  spot.  Beneath  a  spreading  tree 
sits  a  figure,  while  close  by  wanders  another,  both  appar- 
ently enthralled  by  the  beauty  of  their  surroundings.  In 
such  a  captivating  glade  Titania  might  well  have  held  her 
fairy  court. 

Height  20,  length  30  inches.  

Canvas  No.  290. 


5— AUTUMN. 


IN  this  canvas  earth  and  sky  struggle  for  supremacy  in  the 
A  intensity  of  their  colors.  A  smooth,  sweeping  meadow- 
land  bordered  by  trees  and  spanned  by  a  tranquil  little 
stream,  lies  riotously  ablaze  with  the  rich  reds  and  browns 
of  autumn,  while  overhead  the  twilight  sky  flaunts  the  sun's 
farewell  message  in  crimson-tipped  clouds  against  a  golden 
ground.  In  the  middle  distance  the  cattle  pick  their  slow 
way  across  the  stream  whose  surface  is  bright  with  reflected 
lights.  Far  away  against  the  horizon  appears  a  line  of  moun- 
tains, dimly  purple  in  their  remoteness,  while  the  foreground 
with  its  thick  carpet  of  weeds  and  grasses  shows  a  careful 
exactitude  in  relation  to  detail.  This  is  one  of  those  strik- 
ingly brilliant  landscapes  in  the  painting  of  which  Keith 
showed  himself  the  master  technician  of  color  values. 

Height  20,  length  30  inches. 
Canvas  No.  352. 


6— SHEPHERD  AND  SHEEP. 


""TURNING  their  backs  on  the  open  country  stretching 
A  away  in  the  background,  a  shepherd  and  his  little  band 
of  sheep  are  threading  their  way  through  the  woods.  Stately 
trees  meet  and  lock  their  boughs  overhead,  while  the  length- 
ening shadows  forecast  the  approach  of  night.  Underfoot 
the  thick,  brown  grass  proves  a  potent  attraction  to  the 
four-footed  wanderers,  and  progress  is  slow.  In  the  dis- 
tance a  patch  of  blue  sky  touched  by  the  last  afterglow  of 
sunset,  may  be  seen  through  an  opening  in  the  trees,  its 
delicate  color  in  glowing  contrast  to  the  somber  autumn 
foliage  which  enframes  it.  The  charm  of  the  painting  lies 
in  the  simplicity  of  its  handling  and  the  atmosphere  of  rest- 
fulness  which  pervades  the  peaceful  scene. 

Height  20,  length  30  inches.  £>  £>t 

Canvas  No.  253. 


7— EVENING  HOUR. 


HTWILIGHT  has  wrapped  this  peaceful  meadow  in  a  man- 
*  tie  of  slumberous  quiet,  the  falling  dusk  intensifying 
the  dark  greenness  of  the  grass  and  foliage.  The  fast  fading 
glow  of  sunset  lingers  in  a  golden  benediction  on  the  warm 
clouds  which  roughen  the  surface  of  the  blue  night  sky,  and 
knee  deep  in  the  placid  waters  of  a  little  pool  the  patient 
cattle  stand  and  wait.  Shadowy  trees  rise  on  all  sides  hem- 
ming in  the  restful  spot,  while  one  young  sapling  more  ambi- 
tious than  the  rest,  rears  its  graceful  head,  plume-like,  against 
the  heavens.  The  painting  demonstrates  a  masterly  knowl- 
edge of  Nature  and  her  varying  moods. 

Height  20,  length  30  inches.       ^»  &0  , 
Canvas  No.  300.  /  &e># 


8— SUNSET. 


DILED  up  masses  of  gray  cloud  entirely  overcast  the 
A  sunset  sky,  their  edges  touched  to  a  shimmering  radi- 
ance by  the  hidden  orb.  Through  the  center  of  the  picture 
a  gentle  river  winds  its  way  between  banks  of  deep  green 
grass  and  thickly  crowding  trees.  A  couple  of  figures,  un- 
mindful of  the  scowling  sky,  linger  by  the  water's  side, 
while  in  the  middle  distance  a  group  of  cows  may  be  seen 
crossing  the  stream,  their  feet  unfalteringly  set  in  the  home- 
ward path.  The  canvas  in  its  cool  greens  and  grays  is  fresh 
and  moist  with  the  promise  of  rain,  and  one  senses  the 
hushed  expectancy  with  which  earth  and  trees  and  sky 
await  the  breaking  of  the  storm. 

Height  20,  length  30  inches.  3>£&& 
Canvas  No.  274.    *o  t-s* 


9— LAGUNITAS  IN  AUTUMN. 


'"THE  ineffable  loveliness  of  the  Lagunitas  country  has  be- 
*■  come  a  proverb.  To  Keith  its  spell  proved  a  potent 
one,  and  his  exquisite  interpretations  of  its  beauties  have  gone 
far  toward  making  its  fame  world-wide.  Here  in  the  embrace 
of  the  mountains  a  little  rivulet  flows  quietly  on  its  way. 
Slender,  branching  trees  rise  from  its  banks,  their  leafy 
tops  limned  in  delicate  pattern  against  the  warm  firmament, 
while  the  limpid  waters  below  faithfully  reproduce  them  leaf 
for  leaf.  The  greenish  sky,  its  surface  swept  by  soft,  white 
clouds,  blends  with  fine  harmony  into  the  tender  golden 
browns  of  early  autumn  in  which  the  scene  is  clothed,  and 
the  sleepy,  contented  cows  in  the  cooling,  shallow  stream 
add  the  final  note  of  rustic  charm.  The  painting  is  strong 
in  its  appeal  to  the  lover  of  Nature  and  carries  the  irresistible 
lure  of  the  open. 

Height  20,  length  30  inches. 
Canvas  No.  M.  H.  H&x^+i^ 


10— SUNSET. 


A  LUMINOUS  crescent,  the  young  moon  hangs  low  in  the 
evening  sky,  its  fragile,  graceful  curves  prinked  out  in 
a  phosphorescent  glow  against  a  sunset  of  matchless  beauty. 
Along  the  horizon  line  gleams  a  brilliant  streak  of  light, 
while  splendid  orange-tinted  clouds  ride  over  a  weird,  green 
sky.  The  land  beneath  is  deep  in  purple  shadows,  and 
through  the  quiet  gloaming  a  shepherd  is  urging  his  flock  of 
sheep.  On  every  hand  rise  stately  trees,  and  at  the  base  of 
one  of  these  sits  the  herdsman's  sweetheart,  blissfully  antici- 
pating the  homeward  stroll  through  the  glamorous  dusk.  The 
romantic  quality  that  pervades  this  canvas  makes  the  picture 
one  which  grows  on  the  beholder  with  each  acquaintance. 

Height  20,  length  30  inches. 
Canvas  No.  298. 


11— THE  GLORY  OF  THE  HEAVENS. 


DY  MANY  this  is  considered  the  great  Scotchman's  master- 
*^  piece.  On  one  hand  a  gentle,  grassy  hillside  slopes 
upward  into  the  protecting  shelter  of  the  trees  and  across 
its  face  a  straggling  baby  path  plays  hide  and  seek  with  the 
slender  stemmed,  starry  wild  flowers.  Along  this  path  come 
a  woman  and  a  boy,  hastening  their  steps  to  the  waiting 
hearthside  with  true  peasant  indifference  to  the  glories  of 
Nature  flung  with  a  careless  hand  about  them.  The  rapidly 
gathering  dusk  brings  into  bold  relief  the  blazing  colors  of 
the  sunset  sky.  At  the  horizon  line  a  band  of  fiery  red  flings 
its  challenge  upward  against  a  bank  of  billowing  clouds. 
From  crimson  the  light  glows  to  gold,  and  the  western  sky 
seems  broken  into  legions  of  marching  red  gold  clouds  against 
a  sky  of  opalescent  green,  the  whole  a  phantasmagoria 
of  color  rich  as  the  heart  of  an  Hungarian  opal.  Through 
the  branches  of  the  trees  in  the  background  the  heavens 
appear  lit  with  a  mighty  conflagration  and  the  brown  leaves 
of  one  stately  oak  fairly  flame  with  the  reflected  glory.  At 
the  foot  of  the  slope  flows  a  little  stream  whose  tranquil 
waters  have  been  transformed  into  a  river  of  molten  fire. 
Rubies,  topazes,  sapphires,  and  emeralds  in  a  setting  of  shad- 
owy grasses  blaze  from  the  magic  current.  Across  the  stream 
wander  a  group  of  cows,  their  slow  moving  forms  looming 
dimly  through  the  gloom.  The  canvas  is  a  poem  in  pigments, 
one  of  those  rare  poetic  fancies,  a  song  without  words  such  as 
only  a  master  hand  and  spirit  can  call  from  the  spheres. 

Height  36,  length  60  inches.        _~      \  > 
Canvas  No.  363. 


12— HARVEST. 


T^HIS  canvas  is  quick  with  the  lazy  warmth  of  an  autumn 
*•  day.  In  the  shelter  of  a  group  of  trees  in  the  foreground 
sits  a  woman  keeping  solicitous  watch  over  the  two  small 
boys  frolicking  nearby.  The  western  sky  with  its  orange 
lined  clouds  is  hung  like  a  brilliant  curtain  in  the  back- 
ground, screening  the  mysteries  of  the  beyond,  and  against 
its  glowing  beauty  the  piled  up  hay  wagon  in  the  middle  dis- 
tance looms  like  a  huge,  dark  blot.  The  farmer  atop  of  his 
fragrant  load  is  adding  a  last  forkful  before  turning  his 
team  toward  home.  The  ardent  glories  of  autumn  are  shown 
in  the  rich  russet  tones  of  the  foliage,  while  the  even  gloom 
beneath  the  trees  forms  a  setting  of  indescribable  beauty 
for  the  jewel-like  little  pool  which  flames  forth  in  reflected 
light  from  its  rim  of  bending  grasses.  Peace  and  plenty  are 
joyously  expressed  in  this  charming  rural  symphony. 

Height  25,  length  30  inches.  *^C>*>&. 
Canvas  No.  315. 


13— MOUNT  TAMALPAIS  IN  AUTUMN. 


HE  grand  old  mountain  has  offered  itself  as  inspiration 


x  on  many  occasions,  but  never,  perhaps,  with  more  satis- 
fying results  than  in  the  present  instance.  Rearing  its  rugged 
crest  high  in  the  background,  it  stands  boldly  outlined  on 
the  yellowish  gray  sky,  its  uneven  profile  just  topped  by  the 
white  clouds  which  float  lazily  above.  A  little  glade  set  be- 
tween the  encroaching  lines  of  two  thickly  wooded  groves 
occupies  the  foreground,  and  in  the  distance  a  village  nestles 
at  the  base  of  the  mountain.  A  lonely  figure  loiters  amid 
the  trees.  Autumn  in  her  most  alluring  garb  has  caught 
the  artist's  inclination  here,  and  the  scene  is  touched  to  life 
in  rich  browns  and  yellows.  Underfoot  spreads  a  thick  car- 
pet of  sun-yellowed  grass,  its  surface  thrown  into  shadow 
by  the  trees  on  either  side,  and  the  crimson  ivy  twining  its 
tendrils  about  the  sturdy  tree  on  the  left,  strikes  a  distinctive 
note  in  the  surrounding  color. 

Height  24,  length  36  inches.  — 
Canvas  No.  1.    '  *s  V 


14-SPRINGTIME. 


HPHE  rich,  dark  greens  of  the  dense,  protected  woodlands 
A  mantle  this  painting,  giving  an  effect  of  coolness  that  is 
singularly  refreshing  to  the  beholder.  Deep  in  the  rank,  lush 
grass  which  is  cast  into  gloom  by  the  shadowing  branches 
above,  two  little  children  are  gathering  the  early  wild  flow- 
ers with  which  the  turf  is  plentifully  sprinkled.  In  the  mid- 
dle distance  through  a  rent  in  the  closely  woven  boughs  the 
warm  sunlight  falls  across  the  sward  in  a  golden  swath, 
while  further  away  may  be  discerned  a  group  of  homely 
farmhouses  and  outbuildings  huddled  close  in  the  shelter  of 
towering  trees.  The  tonal  quality  of  this  painting  is  true 
to  the  tender,  luminous  greens  which  Keith  dearly  loved 
to  paint,  and  the  brush-work  while  vigorous  is  balanced  by 
the  artist's  delicately  adjusted  sense  of  poetic  values. 

Height  24,  length  36  inches.  «T" S&e*k 
Canvas  No.  26.  /^a*? 


15— LATE  NOVEMBER  IN  THE 
COAST  RANGE. 


A  LITTLE  country  path  runs  its  even  way  through  the 
center  of  the  picture,  its  outlines  merged  into  the  shad- 
owy dusk  of  the  distant  mountain  slope.  On  either  side  grows 
a  thicket  of  slender  trees  and  tangled  shrubbery  whose  leaves 
are  stained  with  the  bright,  blending  colors  of  Autumn's 
burning  brush.  In  the  foreground  linger  a  couple  of  lovers, 
their  fancies  atune  to  the  exquisite  spell  of  the  twilight, 
and  against  the  far-away  horizon  a  majestic  mountain  looms 
in  lonely  grandeur.  The  soft,  yellow  afterglow  of  sunset 
hovers  transiently  above  its  head.  The  brooding  quiet  and 
the  haunting  mystery  of  twilight  so  subtly  expressed  on  the 
canvas,  strike  a  curiously  responsive  chord  of  heart-ache  and 
longing. 

Height  24,  length  36  inches.  c£^£>€>£Ht 
Canvas  No.  344. 


16— SPIRIT  OF  MUSIC. 


/CRADLED  in  the  heart  of  the  woods,  a  lovely,  luring 
^  glade  lies  unveiled  in  all  the  tempting  charm  of  the  hour 
before  sunset.  Along  the  sloping  hillside  in  its  garment  of 
autumn  shades,  travel  two  horsemen,  their  faces  set  toward 
the  wondrous  sky  in  the  background.  Over  its  greenish  sur- 
face sweeps  a  radiant,  billowing  cloud,  so  full  of  buoyant 
grace  that  one  is  inadvertently  tricked  into  belief  in  the  real- 
ness  of  its  motion.  Through  an  opening  in  the  trees  on  the 
right,  a  cascade  of  late  afternoon  sunlight  pours,  flooding 
the  gentle  slope  with  brightness  and  centering  on  the  bluish 
green  coat  of  one  of  the  travelers.  To  the  left  a  slender, 
crooked  tree  arises,  and  from  its  delicate,  leafy  cloister  one 
can  almost  hear  the  lilting,  liquid  cadences  of  the  nightin- 
gale's song,  while  out  of  the  mysterious  pool  below  comes 
the  frogs'  hoarse  croaking.  This  is  one  of  the  artist's  finest 
conceptions  and  reveals  that  innate  love  of  the  mystic  with 
which  his  wonderful  art  was  steeped. 

Height  24,  length  36  inches. 
Canvas  No.  3. 


17— SETTING  SUN. 


HPHE  sun  is  departing  in  a  blaze  of  orange  glory,  its  golden 
*  splendor  lighting  the  scene  beneath.  At  the  foot  of  a 
spreading  tree  a  man  and  a  woman,  in  silent  communion, 
watch  the  brilliant  passing,  their  senses  held  in  thrall  by 
the  sheer  beauty  and  solemnity  of  the  picture.  Beyond  in  the 
middle  distance  graze  a  little  flock  of  sheep,  their  keeper  with 
his  time-honored  crook  dimly  outlined  in  the  enshrouding 
gloom.  Across  the  foreground  stretches  a  tangled  mat  of 
golden  brown  grasses  and  wild  flowers.  This  is  another  sunset 
poem,  its  undying  theme  moving  rhythmically  through  the 
measures  of  glowing  color. 

Height  24,  length  36  inches. 
Canvas  No.  16. 


18— SAVIOR  IN  THE  GARDEN  OF 
GETHSEMANE. 


1V/T  OVED  to  inspiration  by  Sydney  Lanier's  beautiful  poem, 
1V1  "int0  the  Woods,"  the  artist  with  exquisite  feeling  and 
sympathy  has  portrayed  the  Savior  as  He  wrestled  with  His 
anguish  in  the  tangled  wildwood  of  Gethsemane.  Underfoot 
spreads  a  somber  carpet  of  dark  brown  grass,  weaving  in 
and  out  between  the  grand  old  trees  whose  moss-grown 
trunks  reveal  their  great  age.  Patches  of  dark  green  sky  fit 
into  the  interlaced  branches  above  with  all  the  beauty  of  an 
ancient  tapestry,  and  through  a  vista  in  the  far  distance 
a  heavy  yellow  moon  looms  above  the  horizon.  From  directly 
overhead  comes  a  flood  of  light,  bathing  the  interior  of  the 
wood  in  a  supernatural  radiance  and  falling  on  the  Master's 
bowed  shoulders  like  a  glowing  benediction. 

Height  30,  length  40  inches. 
Canvas  No.  318. 


\ 


19— SAN  RAFAEL,  CALIFORNIA 


DOLLING  meadowlands  and  sloping  hillsides  in  all  the 
verdant  charm  of  springtime  lie  disclosed  to  view.  In 
the  foreground  a  little  path  winds  its  devious  course  to 
the  nearby  farmhouse,  while  the  fresh  green  turf,  starred 
with  tiny  flowers,  and  the  blossoming  fruit  trees  in  their  pink 
and  white  fragrance  reveal  the  presence  of  April.  In  the 
middle  distance  may  be  discerned  a  modest  village,  while 
further  on  a  ribbon-like  river  winds  a  silver  course  along  the 
base  of  the  mountains.  The  cerulean  blue  of  the  sky  is  over- 
swept  by  banked-up  gray  and  white  clouds,  through  which 
the  sunlight  triumphantly  spills  onto  the  budding  earth 
below. 

Height  30,  length  46  inches. 

Canvas  No.  306.    /€ft>  $  «r*>  /A^^r 


20— BREAKING  OF  THE  STORM. 


17  RRANT  April  smiles  again  from  this  charming  piece.  A 
*  level  bit  of  grassland,  embowered  in  thickly  growing 
trees  rolls  away  to  the  distant  mountains.  In  the  fore- 
ground which  is  bathed  in  dark  shadow,  two  little  children 
wander  deep  amid  the  luxuriant  grasses,  their  arms  full  of 
fragrant  wild  flowers.  A  tiny  mirror-like  pool  beams  forth 
from  its  nest  of  surrounding  green,  and  the  very  air  is  rife 
with  the  intoxicating  lure  of  spring.  Above  floats  a  sky  of 
incomparable  beauty.  Great  masses  of  gray  and  white  clouds 
are  being  put  to  flight  by  the  escaping  sunlight  which  streams 
in  a  golden  flood  down  on  the  clustered  farmhouses  be- 
neath, while  through  ragged  rents  in  the  cloud  bank  may 
be  seen,  here  and  there,  patches  of  exquisite  blue.  Spring, 
fresh  and  sweet  in  all  the  glory  of  budding  tree  and  blossom- 
ing flower,  is  set  with  unerring  touch  upon  this  canvas. 

Height  36,  length  60  inches. 
Canvas  No.  56. 


21— LAGUNITAS  IN  SUMMER. 


A  GAIN  the  lovely  Lagunitas  country  is  enchantingly  re- 
vealed  to  the  beholder.  A  quiet,  peaceful  stream  spans 
the  landscape,  its  placid  bosom  warm  with  a  thousand  fleetly 
changing  reflections.  To  the  right  its  bank  lies  clothed  in 
the  soft  sun-kissed  grass  of  summer,  from  the  midst  of  which 
rise  two  splendid  oaks.  Hoof-deep  in  the  cooling  water 
stand  a  group  of  cattle,  while  under  a  tree  near  by  their 
keeper  rests  in  the  grateful  shade.  Massing  clouds  of  ominous 
tone,  their  edges  touched  with  radiance  from  the  hidden 
sun,  are  gradually  obliterating  the  blue  sky.  The  scene  is 
permeated  with  the  soft,  palpitating  warmth  of  a  midsummer 
day,  one  of  those  perfect  California  days,  plucked  from  its 
setting  and  transplanted  to  the  canvas  ere  its  beauty  had  time 
to  droop. 

Height  40,  length  60  inches. 
Canvas  No.  57. 


22— TWILIGHT  HOUR. 


A  N  undulating  country  closely  carpeted  with  rank,  soft 
**  grass  sweeps  back  in  the  distance  to  where  the  last 
warm  lights  signal  the  sun's  passing.  In  the  foreground 
towers  a  mighty  oak  beneath  which  sits  a  lonely  figure  ab- 
sorbed in  the  approaching  night.  There  is  a  droop  to  the 
shoulders,  a  touching  wistfulness  in  the  unconscious  pose,  a 
note  of  patient  resignation  in  the  bowed  head,  which  bespeak 
the  presence  of  heartache  and  the  added  pangs  of  memory; 
here  rests  a  woman  with  soul  keyed  to  all  the  aching 
loneliness  of  the  solitudes,  to  whom  the  remote  places  make 
an  irresistible  appeal.  Beyond  the  slim,  scattered  tree  trunks 
to  the  right  may  be  seen  a  thickly  wooded  stretch,  its  fast- 
nesses already  black  with  the  shadows  of  night,  and  through 
the  lacework  of  foliage  above  the  blue-green  night  sky, 
swept  by  vagrant  patches  of  golden  clouds,  casts  a  lingering 
light  on  the  fast  darkening  scene.  Under  the  trees  dusk  lies 
thick,  obscuring  the  details  of  tiny  grass  blades  and  flower 
faces.  The  nocturnal  quality  is  handled  with  rare  sympathy 
and  the  appeal  which  it  made  to  the  artist  is  subtly  conveyed 
to  the  beholder  from  the  miniature  glade  on  the  canvas. 

Height  36,  length  60  inches. 
Canvas  No.  364. 


. ;  w§m  mm 


